Archive for March, 2011

Image size, resolution and all that jazz

Tuesday, March 29th, 2011

Ever had an image that looks amazing on your desktop, but looks like a dog’s dinner in print? If so, you should find this simple guide useful.

Resolution, dpi, CMYK, RGB, it’s easy to get lost in jargon and the science of it all, so we have attempted to keep this post as practical and straight forward as possible.

Topics covered include:

– Screen resolution
– Image size
– pixels and DPI
– CMYK and RGB

If you feel the urge to get more technical, please see the links at the bottom of the page.

What is screen resolution?
Screen resolution means the amount of pixels your monitor displays. A monitor with a screen resolution of 640 x 480 pixels will display 640 pixels (width) and 480 pixels (height). There are different screen resolutions you can use depending on the physical size of your monitor. Generally speaking, the larger the monitor the higher the screen resolution it can display.

Here’s how to check your screen’s resolution: On a PC choose Start – Control Panel – Display – Settings – screen resolution, on a Mac, choose Apple Menu – System Preferences – Displays.

Screen resolution v Print
Compared to print, your computer monitor is a low-resolution medium. Monitors display approximately 72 to 92 pixels per inch of resolution, whereas most four-colour printing uses anywhere between 150 and 300 dots per inch (the print equivalent of pixels – number of dots of ink printed per square inch).
Even though your monitor has a significantly lower resolution, the difference in quality between screen and print may not be immediately obvious.

Ink v Light
Four colour printed images use four printing inks; cyan, magenta, yellow, and black (CMYK) and depend on reflected light. In contrast, your monitor displays images using a combination of Red, Green and Blue (RGB) light to deliver millions of colours with a greater range of contrast and colour intensity.

This is why, even though your monitor is lower in resolution, it will display colour images that look as good, if not better than those at an equivalent size in print.

How big can I print an image?
In reality you can print any image as large as you wish. However, the larger an image is printed, the more clearly you will start to see the pixels that make up the image. As a rule of thumb, the image quality will be determined by the resolution of the image and the resolution it is being printed at.

For example, if you have an image that is 300 x 100 pixels and it is being printed at 200 dpi (dots per inch), here is the calculation: 300 ÷ 200 = 1.5, 100 ÷ 200 = 0.5, therefore if the image is printed at 1.5 x 0.5”, you will get exactly 200 dots per inch.

File size and resolution
There is a direct correlation between the resolution of an image and its file size. The higher the resolution, the bigger the file. File size is generally referred to as ‘Kb’ or ‘K’ (kilobytes) or as ‘Mb’, ‘M’ or ‘Megs’ (megabytes). For the sake of argument, a megabyte is equivalent to 1000 kilobytes.

A practical image size guide
The following sizes are a rough guide only, but should help in judging whether a raw image file is large enough to reproduce well.

20Kb – 100Kb: viewed on screen as a ‘thumbnail’ image
100Kb – 250Kb: viewed on screen as a header (approx 700 x 400 pixels)
500Kb – 1Mb: print (approx 25mm x 25mm)
1Mb – 2.5Mb: print (approx A5)
2.5Mb – 4Mb: print (approx A4)
4Mb – 10Mb: print (approx A3)
25Mb – 100Mb: print (larger poster formats)

Please note, if you are supplying Jpegs, these are compressed files. Small Jpeg files (up to 250K) are generally used online and will be left compressed. When Jpegs are opened in Photoshop to be edited or retouched ready for print artwork, they are uncompressed and the resultant file size will be significantly larger.

There is no formula for judging how large a Jpeg will become when uncompressed as it is dependent on the complexity of the image. If in doubt, send files to your design team who will be able to help.

For a more technical take on this subject, visit:
www.bowhaus.com
www.photo.net

Bring on the wall of inspiration

Tuesday, March 22nd, 2011

Our lovely wall of inspiration is full again.

This is part 2 of what looks like becoming a regular feature on the Remedy blog. Whenever we see something inspiring, be it typography, art, graphics, advertising…, we stick it on the wall. When the wall’s full, we take everything down and start again!

Found on the wall: Comedy Central, a rather dashing mandrill, Miss Grace Jones and the Southbank Centre to name but a few.

Check out Wall #1 here

Don’t forget, if you want to suggest something for the wall, send it to:

The Wall,
Remedy Creative
17, Mount Ephraim,
Tunbridge Wells
Kent
TN4 8AE

Or email: inspiration@remedycreative.com

Creative Heroes – Saul Bass

Tuesday, March 22nd, 2011

Ask many a designer or illustrator to list their major creative influences and there is little doubt that the name Saul Bass will crop up on more than one occasion.

Considered to be one of the great graphic designers, Saul Bass was the creator of some of the most iconic and memorable company logos (Quaker, Warner Communications and United Airlines to name a few), but he is mostly celebrated for the way in which he redefined the art of the movie title sequence and poster to create a complete identity for films.

In the early 1950s, Bass saw the potential for the opening credits to play a bigger part in setting the atmosphere of a film than previously realised. Otto Preminger was the first director to take advantage of Bass’s unique illustrative style, creating poster and titles for Carmen Jones in 1954. It was for his next sequence (The Man with the Golden Arm, 1955) that the rest of Hollywood sat up and took notice.

His animated sequences became a big hit and Bass went on to work with film greats such as Hitchcock, Kubrick and Scorsese, receiving an Oscar in 1968 for his own short film How Man Creates.

Out of the many brilliant movie title sequences that Saul Bass produced, I think my favourite has to be the haunting design for Psycho (1960). The sweeping lines, jagged movement of the text and frenetic staccato music, stunningly combine to create a thrilling preface of what’s to follow.

Saul Bass Psycho opening titles

You can watch the title sequence here

Regarding his theories on the use of film titles, Bass said “My initial thoughts about what a title can do was to set mood and the prime underlying core of the film’s story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it”.

Although being a great admirer of his film title sequences, what I find most inspiring about Bass are his beautifully illustrated posters, his distinctive style used time and time again to great success. The key to his designs is that they always illustrate one simple idea.

Saul Bass posters

Bass had an uncompromising philosophy when it came to design, “The fact of the matter is, I want everything we do, that I do personally, that our office does, to be beautiful. I don’t give a damn whether the client understands that that’s worth anything, or that the client thinks it’s worth anything, or whether it is worth anything. It’s worth it to me. It’s the way I want to live my life. I want to make beautiful things, even if nobody cares.”

Saul Bass died in 1996. His legacy and influence that he had on designers can still be seen today. From the CD artwork for The White Stripes’ Hardest Button to Button, to the opening credits of Catch Me if You Can (2002).

Another of our Creative Heroes, John Webster

Remedy launches Marshall-Tufflex Energy Management campaign

Friday, March 18th, 2011

After a 3-way pitch back in October, we picked up the Marshall-Tufflex Energy Management (MTEM) account.

The brief was threefold: to position MTEM as a brand leader, offering a full energy management package to commercial and industrial clients; to convince Energy Managers that MTEM could help them meet CO2 targets imposed on them by The CRC Energy Efficiency Scheme and to build brand recognition.

Energy management is a hot topic, with lots of companies vying for a slice of market share. So it’s the age old problem – how do you make sure potential customers hear what you have to say in a crowded marketplace?

MTEM’s products are seriously impressive, in some cases helping to reduce energy bills by up to 70%, but with many competitors in the same trade titles, it’s not easy to stand out. So once we had agreed on a campaign strategy, we developed a bold illustration style to give the ads a distinctive look and help establish the brand.

Brand ad

Sinergy illustration

Voltis illustration

We are currently in the process of rolling out ads in the energy management trade press for the overall MTEM brand and all of their products.

Katie Smart, MTEM’s Marketing Promotions Coordinator, had these kind words to say:

“We chose to work with you because you had a great attitude and were genuinely excited about our company – and we haven’t been disappointed. Working with you has been a pleasure and you’ve made the process easy. You’ve designed a strong, confident and engaging campaign which meets our brief perfectly, building brand awareness of Marshall-Tufflex Energy Management in the energy management marketplace.”

Now that’s the kind of response we like!

A little creative inspiration

Friday, March 4th, 2011

There’s lots of creative inspiration out there, so we send our creative ferrets out every day to trawl the best stuff.

If we like it we stick it on the wall! Once the wall’s full, we tear it all down and start again. Because we can.

Keira Knightley, Design Council, Sharwoods and Demetrios Psillos all made it onto the wall.

The wall is now clear, so get out there creative ferrets!

If you want us to stick anything on the wall, send it to:

The Wall,
Remedy Creative
17, Mount Ephraim,
Tunbridge Wells
Kent
TN4 8AE

Or email: inspiration@remedycreative.com